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      ‘Kill’ Review: The Title Says It All. Over and Over Again.

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      What begins as a romantic rescue becomes a blood bath when bandits on a train attack and rob passengers and our Romeo cracks multiple heads in return.We are almost halfway through the Indian action extravaganza “Kill” before the title card slams onscreen, by which point its simple imperative — and the film’s entire raison d’être — has been obeyed so many times it’s essentially redundant. Much like the movie’s English subtitles: The dialogue might be in Hindi, but the language of blood and bones is universal.Speaking it fluently is Amrit (Lakshya), a hunky military commando who has followed his childhood sweetie, Tulika (Tanya Maniktala), onto an express train to New Delhi in the hope of rescuing her from an arranged marriage. The lovebirds’ quivering reunion, however, is rudely interrupted by a horde of bandits armed with knives and hammers. What they lack in sophistication, they more than make up for in enthusiasm as they set about robbing the terrified passengers. Can Amrit and his military buddy (Abhishek Chauhan) stop them? Will the lead villain (a seductively menacing Raghav Juyal) upstage our baby-faced hero? How many objects can be inserted into a human head?To answer these questions, the writer and director, Nikhil Nagesh Bhat, leaps into fifth gear and rarely downshifts. As Amrit arguably does more damage than the zombies in “Train to Busan” (2016), the cinematographer Rafey Mahmood, working with the action specialists Parvez Shaikh and Se-yeong Oh, meticulously captures near-continuous martial-arts sequences of balletic brutality. Exhausted as the actors appear, spare a thought for the film’s Foley artists, whose repertoire of squishy, crunchy and splattery sound effects must have been sorely taxed.Manipulative to the max (one upsetting murder is almost pornographically protracted), “Kill” is dizzyingly impressive and punishingly vicious. In the press notes, the director tells us that he once slept through a similar attack by armed train robbers. No one is sleeping through this one.KillRated R for 52 varieties of knife wound, one weaponized bathroom fixture and several ugly sweater vests. In Hindi, with subtitles. Running time: 1 hour 55 minutes. In theaters. More

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      ‘MaXXXine’ Review: Fame Monster

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      Mia Goth returns to Ti West’s horrorverse as an actress fleeing a mysterious stalker and a traumatic past.A psychosexual thriller imagined in blood red and cocaine white, “MaXXXine,” the third installment in Ti West’s nostalgia-soaked slasher saga, is part grungy homage to 1980s Hollywood and part sleazy feminist manifesto. Darker, moodier and altogether nastier than its predecessors — “X” (2022) and, later that same year, “Pearl” — this hyperconfident feature is also funny, occasionally wistful and deeply empathetic toward its damaged, driven heroine.That would be Maxine Minx (Mia Goth), the sole survivor of the dirty-movie cast massacred in “X.” Now a successful porn star, Maxine, eager to break into mainstream movies, has relocated to a Hollywood of spectacular seediness. It is 1985 and, as in real life, a killer known as the Night Stalker is terrorizing the city, the so-called Moral Majority is hyperventilating on the sidelines and rock musicians are fighting accusations of satanic intent. In one pungent shot of Maxine’s boot grinding her cigarette stub into the silent film sex symbol Theda Bara’s star on the Walk of Fame, West underscores the transience of the celebrity status that Maxine so desperately seeks.“I will not accept a life I do not deserve,” she declares, repeating the mantra taught by her father, a preacher seen in speckled, black-and-white flashback. Securing a role on a low-grade horror sequel brings her under the wing of its industry-toughened director (a perfect Elizabeth Debicki). Yet Maxine is constantly distracted: Her friends are dying, and two homicide detectives (Bobby Cannavale and Michelle Monaghan) want to question her; a Louisiana gumshoe (Kevin Bacon, a skeevy vision in crumpled suits and gold-capped incisors) keeps randomly accosting her; and a mysterious, black-gloved stalker haunts the film’s shadows. No wonder Maxine is plagued by panicked recollections of her traumatic past.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      French Director Benoît Jacquot Is Charged With Rape

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      Mr. Jacquot, 77, was accused of assaulting two actresses and barred from working with minors. He has denied any wrongdoing.The French movie director Benoît Jacquot was charged on Wednesday with the rape of two actresses, Julia Roy and Isild Le Besco, several years ago, according to the Paris prosecutor’s office.Mr. Jacquot, 77, is one of two directors facing a wave of #MeToo accusations that have roiled France’s movie industry since the actress Judith Godrèche came forward to say he had raped her during an abusive relationship that started when she was 14 and he was 39.In the wake of Ms. Godrèche’s accusations, Ms. Roy, 34, and Ms. Le Besco, 41, publicly accused Mr. Jacquot of keeping them in similarly abusive relationships and of sexually abusing them when they were much younger actresses who starred in his films.Ms. Le Besco has accused Mr. Jacquot of raping her between the ages of 16 and 25. Ms. Roy, who acted in some of Mr. Jacquot’s films between 2016 and 2021, had accused him of sexual and physical abuse.Mr. Jacquot and the other director who has been accused, Jacques Doillon, 80, were taken into police custody on Monday for questioning.Both men have denied any wrongdoing.Mr. Doillon was released on Tuesday on medical grounds and without being charged, the Paris prosecutor’s office said, although it added that it was still examining how to proceed in his case. Ms. Godrèche has accused Mr. Doillon of sexually assaulting her twice.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Space Cadet’ Review: Emma Roberts Shoots for the Stars

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      In a lightweight comedy, the actress plays a bartender who dreams of becoming an astronaut. One problem: She has no qualifications for the job.Some of Hollywood’s most durable genre conventions have to do with outsiders and underdogs, often two categories rolled into one, who show up the self-important elites. The cowboy who rolls into town and brings justice in a not-quite-law-abiding way. The lovable con artist who makes a fool of the uppity society folks. The washed-up cop or spy called in for one last covert mission. The stereotypical sorority girl who turns out to be a secret legal genius.That last one is, of course, the “Legally Blonde” heroine Elle Woods, a fashion major who decides on a whim to go to Harvard Law School and discovers her unconventional qualifications give her insight that her more buttoned up classmates lack. Rex Simpson, the protagonist of “Space Cadet,” bears more than a passing resemblance to Elle, and not just because the actress Emma Roberts could play, at a squint, Reese Witherspoon’s niece. (Her actual aunt, Julia Roberts, played another scrappy underdog in “Erin Brockovich.”)Roberts’s most famous work might be in Ryan Murphy’s shows “American Horror Story” and “Scream Queens,” in which her knack for playing a certain kind of queen bee — gorgeous, cruel, one crisis away from combustion — makes her a magnetic presence. She’s great at a caricature, elevating those characters to satire without diluting their sugary poison. That flair for exaggeration would seem to make Rex Simpson the right role for her.“Space Cadet,” a comedy written and directed by Liz W. Garcia, is cast closely along the lines of “Legally Blonde,” with some beats lifted so clearly from that movie I started to wonder if they weren’t meant as jabs. Rex is a neon-wearing bartender in Florida who wrestles alligators and loves to party on the beach, but there’s more than meets the eye: She was a bit of a science genius in high school, and dreamed of being an astronaut. When her mother died, she turned down a full ride to Georgia Tech. By the time she attends her 10-year high school reunion with her best friend, Nadine (Poppy Liu), she’s down in the dumps over her failure to, uh, launch.A chance encounter with a former classmate who now runs a private spaceflight company sparks something in Rex. It’s time to chase her dreams. So she pops open the NASA website and decides to apply to be an astronaut. One problem, of course, is that she has absolutely no qualifications for the job. But is that a real barrier to Rex, the woman who invented patent-worthy tanning mirrors?The movie continues in this direction, sending her to NASA in a crop top to become an Astronaut Candidate (or AsCan, a moniker that provides more than a few jokes). Here is where the “Legally Blonde” comparisons come in. There is, for instance, a scene in a classroom where Rex doesn’t know the answer to a stern professor’s question, then one later where she does, demonstrating her growth. There’s a whole sequence in which people look askance at Rex upon her arrival at NASA, thanks to her peppy, kooky outfit that signals unseriousness.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Despicable Me 4’ Review: This Time They’re Superheroes

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      The crew is back, but this time around they need to lie low. Sort of.If one wonders how a franchise on its sixth film in under 15 years (counting spinoffs) could still have any good ideas, one solution, apparently, is to simply throw all ideas at the screen. That’s the approach taken in “Despicable Me 4,” the latest, messily passable iteration of the deliriously successful franchise that follows the adventures of the reformed supervillain Gru.This one, helmed by the animated franchise’s longtime director and producer Chris Renaud, is a stream of mostly high-octane B-plots: Members of Gru’s family are struggling to adjust to life in witness protection after a new villain (Will Ferrell) becomes hellbent on revenge; Gru reluctantly mentors his teenage neighbor, who aspires to villainy; the Minions become lab-grown superheroes; and so on.As the movie noisily stretches itself out in too many directions, it largely sheds any meaningful charm or heart and struggles to cohere around a central story with actual stakes. It extends on a problem in the franchise that began with the third film, which relied more on gimmicky narrative and visual pyrotechnics and empty slapstick to keep things afloat. (What’s better than one Gru? Two!)There’s still occasional fun to be had and a budget that’s clearly put to use, but we’re mostly here, it seems, to keep the Minion cash cow chugging along. In all of the chaos, you may find your mind drifting off to the better, simpler days of the first film that set off the enterprise, when it was just a story of a bad guy gone good, but a genuine story nonetheless.Despicable Me 4Rated PG for Minion-related violence. Running time: 1 hour 35 minutes. In theaters. More

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      ‘Seven Samurai’: Masterless Warriors in a Cinematic Masterpiece

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      Akira Kurosawa’s epic has always been known for its action-film artistry, but there is emotional heft and nuance as well.Few movies have been more influential than “Seven Samurai,” an existential action film directed by Akira Kurosawa that, at longer than three hours, seemingly muscled its way into existence.“Seven Samurai,” made in Japan in the early 1950s, was by far the most expensive film then made in the country. And it required the longest shoot, in part because the exhausted director needed hospitalization. Trimmed by nearly one-third, it was introduced to the world at the 1954 Venice International Film Festival, sharing the Silver Lion award with three other movies.The abridged version opened in the United States in 1956 as “The Magnificent Seven,” a title soon to be appropriated by Hollywood. The full version did not arrive until 1982.Rarely screened since, Kurosawa’s masterpiece is showing — complete with intermission — for two weeks at Film Forum in a new 4K restoration. Its power is undiminished.The U.S. occupation of Japan ended only months before Kurosawa and his team began planning a film that, however ambiguously, would reassert Japan’s martial spirit. Production of “Seven Samurai” coincided with an equally elemental movie, allegorizing Japan’s nuclear martyrdom, “Godzilla” — both at the same studio, Toho.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Niclas Larsson, Film Director, Waits for Success in New York’s Garment District

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      The film director grew up in Sweden with a love of American movies. Now he would like you to see his surreal debut, “Mother, Couch,” in a theater.If old age is not for snowflakes — well, try directing a 90-minute feature film about old age in the iPhone era, as Niclas Larsson has done.Mr. Larsson, 33, greeted me on a recent morning into his 15th-floor terraced apartment in a former button factory in Manhattan, looking eerily like his dog, a blond lurcher named Ted, the way many owners do. He had settled here, the garment district of Midtown Manhattan, after rejecting “hipper” quarters in Brooklyn and the financial district.A native Swede with a deep appreciation of Americana, he was offering strong black coffee and strong opinions on where his new movie, “Mother, Couch,” should be seen, like the Angelika theater downtown, where it opens on Friday, and the Nuart in Los Angeles.“Hollywood is like, What’s going on?” Mr. Larsson said, considering the summer box office, which has thus far been a faint shadow of last year’s Barbenheimer. “No one knows what’s going on. But I want to give the nerds the option of going to the theater. It’s made for a theater. It’s shot on 35 — it’s all the film nerdy things in there.”“You know what also about a theater that we forget is the God perspective of people telling us a story,” he went on. “People forget — the big shadow plays they did around the fires in the Stone Age? They did them large, because it’s important.”“Mother, Couch,” based on “Mamma i soffa,” a 2020 Swedish novel by Jerker Virdborg, and shot to some local excitement in Charlotte, N.C., indeed takes on large themes, including mortality, parenthood and that Gen Z bugaboo, capitalism.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘This Closeness’ Review: So Near, So Far Away

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      An indie comedy set in an Airbnb leans into the ways we distance ourselves from one another.City living presupposes closeness. Even when you’re alone in your apartment, dozens of people are likely to be sitting, cooking, napping, fighting or having sex within feet of you, separated by walls that are usually way too thin. But to live an urban life without getting overstimulated requires developing an artificial sense of distance, the ability to be alone in public, to ignore others while maintaining a sense of alertness. A pair of noise-canceling headphones. A bit of tunnel vision.“This Closeness,” a microbudget indie directed by Kit Zauhar, wittily examines the ways we create and avoid closeness in modern life, both by choice and, especially when we’re young, necessity. The main couple at its center, Tessa (Zauhar) and Ben (Zane Pais), are New Yorkers who’ve rented a room in an Airbnb in Philadelphia so Ben can attend his five-year high school reunion. It’s the kind of Airbnb you get when you can’t or don’t want to spend much money: They’ll have a bedroom to themselves, but share the bathroom and common spaces with a host, a stranger named Adam (Ian Edlund).Sharing space with a stranger isn’t all that weird when you’re a recent college graduate who probably has lived with at least a few randomly selected roommates in the recent past. But viewed objectively, that’s still weird — proximity without closeness, made weirder to Tessa and Ben because their temporary roommate, Adam, is an awkward guy who claims his roommate Ian actually listed the place, but isn’t there at the moment. (It’s one of the film’s inside jokes that Adam is played by Ian Edlund.)What’s going on? Normal 20-something stuff, really: fights and weirdness, tensions over how to split the refrigerator space and how long people take in the bathroom, moderately cruel jokes heard through too-thin walls. There’s also the kind of thoughtlessness you almost have to develop in order to survive proximity — Ben goes out to dinner with old friends and returns with one of them, Lizzy (Jessie Pinnick), in tow. Having been in shared living situations before, I recoiled reflexively at how much noise they made the instant they came through the door.All of “This Closeness” is set in the apartment, as much a smart budgetary choice as a formal one. The claustrophobic feeling is effective; the characters can escape, but we can’t. But in that small, bare apartment they’re having a rich array of interactions, both with the flesh-and-blood humans occupying the same space — Ben and Adam spar, in faux-politeness, over a malfunctioning air-conditioner in Ben and Tessa’s room — and with those outside its walls.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More